The course offers the student an analysis of the double pedagogical-didactic status of Music Education in Pre-primary and Primary School.
With the study of Pedagogy and Didactics of Music the student will be able to achieve the following training objectives
In terms of knowledge and understanding:
- to define and to identify the epistemological and methodological field of the discipline;
- to know the theory of musical education in the national and international context.
In terms of applying knowledge and understanding:
- to analyze the best educational practices of the School with reference to consolidated pedagogical methods;
- To identify educational phenomena and processes.
In terms of making judgements:
- to connect pedagogical theory to school situations and contexts;
- to evaluate pedagogical innovations.
In terms of communication skills:
- to use strategies of human relationships in the classroom and outside the classroom;
- to develop competence in the design and organization of pedagogical thinking and educational action in music.
In terms of learning skills:
- to encourage scientific research in School context;
- to understand the educational challenge by identifying problems and proposing solutions in the perspective of lifelong musical learning.
With the study of Pedagogy and Didactics of Music the student will be able to achieve the following training objectives
In terms of knowledge and understanding:
- to define and to identify the epistemological and methodological field of the discipline;
- to know the theory of musical education in the national and international context.
In terms of applying knowledge and understanding:
- to analyze the best educational practices of the School with reference to consolidated pedagogical methods;
- To identify educational phenomena and processes.
In terms of making judgements:
- to connect pedagogical theory to school situations and contexts;
- to evaluate pedagogical innovations.
In terms of communication skills:
- to use strategies of human relationships in the classroom and outside the classroom;
- to develop competence in the design and organization of pedagogical thinking and educational action in music.
In terms of learning skills:
- to encourage scientific research in School context;
- to understand the educational challenge by identifying problems and proposing solutions in the perspective of lifelong musical learning.
Canali
teacher profile teaching materials
- Musical Grammar: study of the fundamental elements of musical language, score-analysis techniques, and pathways for vocal and instrumental musical literacy.
- History and Contextualised Active Listening: reconstruction of a historical and cultural profile through guided listening and commentary on selected works representing both written- and oral-tradition musical heritage.
- Musical Interpretation (Voice, Body, and Instrument): integrated development of vocal practice, movement, and basic metallophone techniques, combining singing, physical expression, and instrumental accompaniment in a collaborative music-making experience aimed at strengthening ensemble coordination, mutual listening, and a collective rhythmic sense.
- Educational Design: effective management of music sessions and the development of innovative learning pathways, drawing on established pedagogical approaches to structure targeted activities.
Part 2: Contexts, Scenarios, and Research in Music Pedagogy and Music Education
- Contexts and Scenarios: analysis of contemporary music pedagogy and of the integration of formal, non-formal, and informal learning contexts in Europe and Italy.
- Sonic and Musical Citizenship in Contemporary Societies: cross-curricular teaching of citizenship education through music, aimed at fostering citizens who are aware of and responsible for their own soundscape.
- From the Classroom to the Stage: effective management of musical practice and preparation of students for performance, understood as an opportunity for individual growth, emotional development, and collective cohesion, through the study of concert-programme construction as a communicative act.
- Research and Innovation: exploration of new tools, research methodologies, and digital technologies in the music classroom to promote inclusion, accessibility, and personalised learning.
Programme
Part 1: Fundamentals, Design, and Languages- Musical Grammar: study of the fundamental elements of musical language, score-analysis techniques, and pathways for vocal and instrumental musical literacy.
- History and Contextualised Active Listening: reconstruction of a historical and cultural profile through guided listening and commentary on selected works representing both written- and oral-tradition musical heritage.
- Musical Interpretation (Voice, Body, and Instrument): integrated development of vocal practice, movement, and basic metallophone techniques, combining singing, physical expression, and instrumental accompaniment in a collaborative music-making experience aimed at strengthening ensemble coordination, mutual listening, and a collective rhythmic sense.
- Educational Design: effective management of music sessions and the development of innovative learning pathways, drawing on established pedagogical approaches to structure targeted activities.
Part 2: Contexts, Scenarios, and Research in Music Pedagogy and Music Education
- Contexts and Scenarios: analysis of contemporary music pedagogy and of the integration of formal, non-formal, and informal learning contexts in Europe and Italy.
- Sonic and Musical Citizenship in Contemporary Societies: cross-curricular teaching of citizenship education through music, aimed at fostering citizens who are aware of and responsible for their own soundscape.
- From the Classroom to the Stage: effective management of musical practice and preparation of students for performance, understood as an opportunity for individual growth, emotional development, and collective cohesion, through the study of concert-programme construction as a communicative act.
- Research and Innovation: exploration of new tools, research methodologies, and digital technologies in the music classroom to promote inclusion, accessibility, and personalised learning.
Core Documentation
A selection of teaching materials provided by the instructor and made available on the course platform.Reference Bibliography
Allorto, R. (2005). Nuova storia della musica. Ricordi. Bennett, R. (1987). History of music. Cambridge University Press. Campogrande, N. (2024). Storia della musica classica: Il racconto di un'avventura straordinaria dal Medioevo a Spotify. Ponte alle Grazie. Coates, S. (2000). How to blitz! ABRSM Theory: Grade 1. Chester Music. Ferrarese, S. (Ed.). (2020). Didattica della musica: Progettazione, metodologie e percorsi inclusivi. Mondadori Università. Galli, C. (2001). Musica e storia: L’apprendimento storico-musicale nel processo formativo. EDT/SIEM. La Face Bianconi, G. (2010). Il valore del sapere musicale: Educazione al sapere e ascolto attivo. FrancoAngeli. Mado Proverbio, A. (2019). Neuroscienze cognitive della musica: Il cervello musicale tra arte e scienza. Zanichelli. Ministero dell’Istruzione. (2020). Linee guida per l’insegnamento dell’educazione civica. https://www.miur.gov.it/documents/20182/0/ALL.+Linee_guida_educazione_civica_dopoCSPI.pdf Navarro Lalanda, S. (2022). Didattica della musica ed educazione alla cittadinanza nella scuola dell’obbligo italiana. Musica Docta, 12(1), 91–106. https://doi.org/10.6092/issn.2039-9715/15414 Navarro Lalanda, S. (2025). Sonic and musical citizenship in contemporary societies. In R. Salvarani (Ed.), The future of hope (pp. 243–259). Studium Edizioni. https://doi.org/10.69080/thefutureofhope.243-259 Pace, A. (2012). Musica e formazione primaria. Libreriauniversitaria.it edizioni. Pantano, G., & Rizzo, A. (2025). Circle singing as an inclusive interdisciplinary practice: Assessing musical and linguistic development through innovative research tools. Italian Journal of Educational Research, 179–190. https://doi.org/10.7346/sird-1S2025-p179 Pelassa, A., & Franco, F. (2014). Musical-mente: Attività interdisciplinari di educazione musicale nella scuola primaria. Edizioni Erickson. Rizzo, A. (Ed.). (2025). Giochi musicali per la scuola dell'infanzia: Preparare lettura e scrittura. Carocci. Scalfaro, A. (2015). Storia dell'educazione musicale nella scuola italiana: Dall'Unità a oggi. FrancoAngeli. Schafer, R. M. (1992). A sound education: 100 exercises in listening and sound-making. Arcana Editions. Somigli, P. (2025). La musica classica va a scuola: Prospettive e percorsi didattici. FrancoAngeli.Attendance
Attendance is not mandatory, but it is strongly recommended.Type of evaluation
Assessment consists of two components: - Final examination: the assessment consists of an oral examination designed to assess students’ knowledge of the course content: musical grammar, contextualised active listening, musical interpretation through a selection of pieces, contexts and scenarios in music education, and preparation for public performance (From the Classroom to the Stage). - Applied project: presentation and discussion of a learning unit (UdA), in which students will develop, from a pedagogical perspective, an approach to music learning as a means of promoting responsible citizenship. The project must include the definition of the reference context (school setting and educational level), identification of the parties involved, formulation of general and specific learning objectives, key competences, content, methodology, timetable, overall activity design, assessment methods, resources, and bibliography. The written assignment must be between three and six pages in length (approximately 2,000 characters per page, including spaces) and must be uploaded to the course platform before the examination session in which the student intends to take the final examination. teacher profile teaching materials
- Musical Grammar: study of the fundamental elements of musical language, score-analysis techniques, and pathways for vocal and instrumental musical literacy.
- History and Contextualised Active Listening: reconstruction of a historical and cultural profile through guided listening and commentary on selected works representing both written- and oral-tradition musical heritage.
- Musical Interpretation (Voice, Body, and Instrument): integrated development of vocal practice, movement, and basic metallophone techniques, combining singing, physical expression, and instrumental accompaniment in a collaborative music-making experience aimed at strengthening ensemble coordination, mutual listening, and a collective rhythmic sense.
- Educational Design: effective management of music sessions and the development of innovative learning pathways, drawing on established pedagogical approaches to structure targeted activities.
Part 2: Contexts, Scenarios, and Research in Music Pedagogy and Music Education
- Contexts and Scenarios: analysis of contemporary music pedagogy and of the integration of formal, non-formal, and informal learning contexts in Europe and Italy.
- Sonic and Musical Citizenship in Contemporary Societies: cross-curricular teaching of citizenship education through music, aimed at fostering citizens who are aware of and responsible for their own soundscape.
- From the Classroom to the Stage: effective management of musical practice and preparation of students for performance, understood as an opportunity for individual growth, emotional development, and collective cohesion, through the study of concert-programme construction as a communicative act.
- Research and Innovation: exploration of new tools, research methodologies, and digital technologies in the music classroom to promote inclusion, accessibility, and personalised learning.
Programme
Part 1: Fundamentals, Design, and Languages- Musical Grammar: study of the fundamental elements of musical language, score-analysis techniques, and pathways for vocal and instrumental musical literacy.
- History and Contextualised Active Listening: reconstruction of a historical and cultural profile through guided listening and commentary on selected works representing both written- and oral-tradition musical heritage.
- Musical Interpretation (Voice, Body, and Instrument): integrated development of vocal practice, movement, and basic metallophone techniques, combining singing, physical expression, and instrumental accompaniment in a collaborative music-making experience aimed at strengthening ensemble coordination, mutual listening, and a collective rhythmic sense.
- Educational Design: effective management of music sessions and the development of innovative learning pathways, drawing on established pedagogical approaches to structure targeted activities.
Part 2: Contexts, Scenarios, and Research in Music Pedagogy and Music Education
- Contexts and Scenarios: analysis of contemporary music pedagogy and of the integration of formal, non-formal, and informal learning contexts in Europe and Italy.
- Sonic and Musical Citizenship in Contemporary Societies: cross-curricular teaching of citizenship education through music, aimed at fostering citizens who are aware of and responsible for their own soundscape.
- From the Classroom to the Stage: effective management of musical practice and preparation of students for performance, understood as an opportunity for individual growth, emotional development, and collective cohesion, through the study of concert-programme construction as a communicative act.
- Research and Innovation: exploration of new tools, research methodologies, and digital technologies in the music classroom to promote inclusion, accessibility, and personalised learning.
Core Documentation
A selection of teaching materials provided by the instructor and made available on the course platform.Reference Bibliography
Allorto, R. (2005). Nuova storia della musica. Ricordi. Bennett, R. (1987). History of music. Cambridge University Press. Campogrande, N. (2024). Storia della musica classica: Il racconto di un'avventura straordinaria dal Medioevo a Spotify. Ponte alle Grazie. Coates, S. (2000). How to blitz! ABRSM Theory: Grade 1. Chester Music. Ferrarese, S. (Ed.). (2020). Didattica della musica: Progettazione, metodologie e percorsi inclusivi. Mondadori Università. Galli, C. (2001). Musica e storia: L’apprendimento storico-musicale nel processo formativo. EDT/SIEM. La Face Bianconi, G. (2010). Il valore del sapere musicale: Educazione al sapere e ascolto attivo. FrancoAngeli. Mado Proverbio, A. (2019). Neuroscienze cognitive della musica: Il cervello musicale tra arte e scienza. Zanichelli. Ministero dell’Istruzione. (2020). Linee guida per l’insegnamento dell’educazione civica. https://www.miur.gov.it/documents/20182/0/ALL.+Linee_guida_educazione_civica_dopoCSPI.pdf Navarro Lalanda, S. (2022). Didattica della musica ed educazione alla cittadinanza nella scuola dell’obbligo italiana. Musica Docta, 12(1), 91–106. https://doi.org/10.6092/issn.2039-9715/15414 Navarro Lalanda, S. (2025). Sonic and musical citizenship in contemporary societies. In R. Salvarani (Ed.), The future of hope (pp. 243–259). Studium Edizioni. https://doi.org/10.69080/thefutureofhope.243-259 Pace, A. (2012). Musica e formazione primaria. Libreriauniversitaria.it edizioni. Pantano, G., & Rizzo, A. (2025). Circle singing as an inclusive interdisciplinary practice: Assessing musical and linguistic development through innovative research tools. Italian Journal of Educational Research, 179–190. https://doi.org/10.7346/sird-1S2025-p179 Pelassa, A., & Franco, F. (2014). Musical-mente: Attività interdisciplinari di educazione musicale nella scuola primaria. Edizioni Erickson. Rizzo, A. (Ed.). (2025). Giochi musicali per la scuola dell'infanzia: Preparare lettura e scrittura. Carocci. Scalfaro, A. (2015). Storia dell'educazione musicale nella scuola italiana: Dall'Unità a oggi. FrancoAngeli. Schafer, R. M. (1992). A sound education: 100 exercises in listening and sound-making. Arcana Editions. Somigli, P. (2025). La musica classica va a scuola: Prospettive e percorsi didattici. FrancoAngeli.Attendance
Attendance is not mandatory, but it is strongly recommended.Type of evaluation
Assessment consists of two components: - Final examination: the assessment consists of an oral examination designed to assess students’ knowledge of the course content: musical grammar, contextualised active listening, musical interpretation through a selection of pieces, contexts and scenarios in music education, and preparation for public performance (From the Classroom to the Stage). - Applied project: presentation and discussion of a learning unit (UdA), in which students will develop, from a pedagogical perspective, an approach to music learning as a means of promoting responsible citizenship. The project must include the definition of the reference context (school setting and educational level), identification of the parties involved, formulation of general and specific learning objectives, key competences, content, methodology, timetable, overall activity design, assessment methods, resources, and bibliography. The written assignment must be between three and six pages in length (approximately 2,000 characters per page, including spaces) and must be uploaded to the course platform before the examination session in which the student intends to take the final examination.